- Paperback: 160 pages
- Publisher: William Heinemann Ltd; Reprint edition (29 April 1985)
- Language English
- ISBN-10: 0434303054
- ISBN-13: 978-0434303052
- Product Dimensions: 25.8 x 25.6 x 1.6 cm
- Average Customer Review: 5.0 out of 5 stars See all reviews (2 customer reviews)
- Amazon Bestsellers Rank: 438,303 in Books (See Top 100 in Books)
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Product Description
Product Description
A collection of b&w photographs celebrating the British landscape, with accompanying text by novelist John Fowles.
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Customer Reviews
Most Helpful Customer Reviews
3 of 3 people found the following review helpful
Format:Paperback
If, like me, you are a photographer and lover of landscape, you need this book. photographed exclusively in black and white it is a collection of brooding, often bleak, images of the british landscape.Unlike many glossy coffee table photo books it is totally unsentimental in it`s outlook, concentrating on light, shade and form, which is what photography is all about, and yet it is exquisitely beautiful at the same time. if you like the photographs of Ansel Adams you will find much to like here, for the late Fay Godwin had a natural, intuitive feel for landscape. If this marvellous collection of photographs doesn`t inspire you to become a better photographer then you are probably better off giving up on it! Buy it, you won`t regret it.
2 of 2 people found the following review helpful
Format:Paperback
Writing as a landscape painter rather than a photographer, I find this book beautiful, provocative and inspiring. The photographs seem to have been taken with a slow exposure and a large plate, capturing grainy texture in some, in others softening detail with shadow or movement. The photographs are "painterly" in that composition and contrast of tone take precedence over subject matter. All are in black and white, though the ink used to print them is a deep, warm-toned bistre rather than jet black, lending the greys and whites an almost creamy depth.
The subjects are varied, united by the artist's eye rather than any theme. Here are the stones at Callanish, sunlit, rough-textured as tree-bark against a black sky. Here the filigree of a copper beech is silhouetted against bright water, its reflections shimmering, at Stourhead. Here a wrecked car, half-submerged at Cliffe lagoon. Several photographs immediately call landscape painters to my mind; moonlit sheep at Avebury are pure Samuel Palmer, sweeping curves of grass and chalk at the vale of the White Horse feel like Cotman; a clump of windswept beechtrees John Nash, concrete blocks at Pett Level his brother Paul. I am sure these resonances are deliberate, especially as in the case of the Kent and Sussex painters (the Nashes, Edward Burra etc) Fay Godwin was working within a local artistic tradition of which they are part.
John Fowles' essay picks out other influences, many of them literary. His thought-provoking commentary starts the book, and Fay Godwin's photographs stand alone, each with a spare location caption and no more. The sequence has been carefully thought out and forms a poetic flow of its own. I would recommend you look through the photographs slowly and with care before reading Fowles' essay; let them do their work visually before you allow yourself to be influenced by his interpretaion.
The subjects are varied, united by the artist's eye rather than any theme. Here are the stones at Callanish, sunlit, rough-textured as tree-bark against a black sky. Here the filigree of a copper beech is silhouetted against bright water, its reflections shimmering, at Stourhead. Here a wrecked car, half-submerged at Cliffe lagoon. Several photographs immediately call landscape painters to my mind; moonlit sheep at Avebury are pure Samuel Palmer, sweeping curves of grass and chalk at the vale of the White Horse feel like Cotman; a clump of windswept beechtrees John Nash, concrete blocks at Pett Level his brother Paul. I am sure these resonances are deliberate, especially as in the case of the Kent and Sussex painters (the Nashes, Edward Burra etc) Fay Godwin was working within a local artistic tradition of which they are part.
John Fowles' essay picks out other influences, many of them literary. His thought-provoking commentary starts the book, and Fay Godwin's photographs stand alone, each with a spare location caption and no more. The sequence has been carefully thought out and forms a poetic flow of its own. I would recommend you look through the photographs slowly and with care before reading Fowles' essay; let them do their work visually before you allow yourself to be influenced by his interpretaion.
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